Movies: Argo

Score:  **** out of *****  (A-)

Long Story Short:  Argo is a big step forward for Ben Affleck, the director, and in my eyes it earns its current status as an Oscar favorite.  The film really nails a believable atmosphere, and because of that, a superb tension, particularly at the beginning and end.  Affleck's own character, the hero, is disappointing and shows that he has a little work to do in that area, but the supporting cast provides plenty of brilliant moments.  Highly recommended to all.


As more well-reviewed, limited release films come out, movie theaters around me continue to miss them... except for this Oscar buzz film, Argo.  After reading about the premise several months ago, I was interested to check this one out.  Plus, Ben Affleck impressed me with his work on The Town from a few years ago.  Once November arrives, the movie choices should continue to get better (and perhaps some previous limited releases will make their way to my area).  Argo was directed by Ben Affleck and stars him, Bryan Cranston, Alan Arkin, and John Goodman.

The film starts with a brief narration of Iranian history, and the action begins in 1979, following the deposed Shah's escape to the U.S.  Revolutionaries gather and gain support in the streets outside the U.S. embassy, with the diplomats inside growing more and more nervous.  Eventually, of course, the Iranians break into the compound and take almost everyone hostage.  Six people, however, manage to escape and hide out in the Canadian ambassador's home.  Back in the U.S., news of the attack dominates the headlines, while the State Department frets about their secret knowledge of the other six. State is desperate to get them out, but the CIA squashes their ideas to get them out.

CIA agent Mendez (Affleck) comes up with another idea involving location filming in Iran, but his superiors, including boss O'Donnell (Cranston) are doubtful.  Still, it's their only lead, and so Mendez approaches makeup artist Chambers (Goodman) and producer Siegel (Arkin) in order to develop a legitimate operation to back up the ruse.  Back in Iran, the escapees grow restless even as the revolutionaries piece together that there are Americans in hiding.  When Mendez arrives in the hostile nation, the situation gets even more tense as he races against the clock to get them out.

The performances in Argo are very good for the most part.  Interestingly, however, Ben Affleck's role as the CIA hero Mendez is bland and mediocre.  Perhaps Affleck just put 90% of his energy into directing (which he did much better), but even compared to my low standards for him, he just gives very little personality or flavor to his character.  Fortunately, the roster of supporting roles has several stand-outs.  First there is Cranston, playing Affleck's boss; he disappears into the role of a dedicated, experienced, slightly arrogant yet intensely loyal CIA manager.  His biting humor and bursts of passion provide some of the film's best moments.  Next are John Goodman and Alan Arkin as his polar opposites, cynical and seemingly indifferent Hollywood vets.  Both are hilarious and Arkin delivers the movie's crass catchphrase based on the title of the fake film.  Several of the American escapees also give great performances, although the character names elude me.  Some familiar faces in small roles (Victor Garber from Alias, Kyle Chandler from Friday Night Lights) round out the great cast.

The name of the game in Argo is suspense.  Particularly in the beginning, as Iran's revolutionaries invade the embassy, and at the end when the Americans make their escape attempt, the film keeps you on the edge of your seat.  Sure, it goes away for stretches in the middle, but if it didn't, I think anyone who watched it would end up with blood pressure issues.  The key to Argo's success with tension I think is the very realistic feel given to the true story, and a sense of how dangerous Iran was, particularly in that time period.  The humor provided by Arkin, Goodman, and occasionally Cranston is a perfect complement to the tension, and it's an appropriate kind of humor, too.  I also need to give a lot of credit to the set designers and especially costume and make-up artists (the real ones!).  During the credits side-by-side shots of the film actors and their real-life counterparts are shown, and they are amazingly accurate.

***

Argo really shows Ben Affleck's growth as a filmmaker; not that The Town was bad, but this film is certainly superior.  Affleck nailed the tension and realism of an historical thriller about as well as any other I've seen - but he's still got some room to grow.  His character, in fact, is a good symbol of the area he needs to improve:  I simply did not feel pulled into the story by the characters; certainly not by his bland lead.  Yes, there is a palpable, thrilling sense of relief when the Americans have finally gotten away, and there are a few good moments relating characters (mostly on the strength of Cranston's, Arkin's, and one of the escapee's acting).  But it lacks that connection to character that, for example, Apollo 13, nailed.  Make no mistake, however:  this is an excellent film that I would recommend to any adult audience and many younger ones, too.  Perhaps over time this film could prove itself to be worthy as a classic of its genre.